Compressors come in all shapes and sizes, some with more controls than others. Deine E-Mail-Adresse wird nicht veröffentlicht. Now that you know what a compressor does, you need to know how to control one. What’s happening here? Bei einer höheren Ratio wird die Kompression stärker hörbar, es kann zu einem „pumpen“ des Sounds kommen. Parallel processing is when you duplicate an audio track and apply processing to the duplicate; parallel compression is when you apply heavy compression to the duplicate. I want to encourage you to refrain from applying compression just for the sake of applying compression; if a sound doesn't need it (and many sounds don't), then you don't have to apply it. I recommend applying parallel compression on an aux (return) track because you can further process the compressed signal this way. If you click "OK" you accept this. – Wieso Du einen Kompressor in deinen Tracks einsetzen willst This EQ allows you to affect the frequency range that the compressor responds to using a highpass and lowpass filter. In reality, compression isn’t what makes sounds loud, the makeup gain is what makes them loud. Bereichernd und auf dem Punkt! These controls are generally quite universal across all types of compressors, but I’ll be referring specifically to compressors that apply downwards compression (gain reduction) from here on out. Nach den Transienten folgt der Bauch eines Signals. These settings will vary depending on the material I’m working with, but I generally start with something like that to glue my drum buss together; this will help put my drums into the same space as one another. Reading Gregory’s article will make more sense once you’re already familiar with the basic concepts I’ve covered in this guide. The first compressor is there to catch the transients and tuck them into place. To take your understanding of compression to the next level and start applying these concepts to your music, I highly recommend Mixing with Compression, which is a video series by Matthew Weiss. I’ve also seen compressors that have the ability to automatically set attack times; although this is less common. One of the benefits of unlinking the channels is that it can create a sense of openness or space which may be desirable. You can set this up to act upon internal signal or external signal depending on your needs. Die Ratio steht also in einer Wechselwirkung mit dem Treshold. Der Attack-Regler bestimmt wie schnell der Kompressor auf das Eingans-Signal reagiert, also wie schnell er das Signal packt und „platt macht“, beziehungsweise eben was er vom Signal hindurch lässt. Sometimes auto mode will strike a nice setting, but more often than not I prefer to set the attack and release times manually. Paradebeispiel dafür sind Backgroundvocals. Another result of parallel compression is that it raises the level of the noise floor which can sometimes be quite desirable. sign up for a free online music production lesson, 4 Tips For Music Producers Who Collaborate, What level needs to be reached before compression is applied? “Brick wall limiting” is a term you’ve probably heard tossed around before. Let’s say you set your threshold to -20dB. By Jeff Strong . Zum Beispiel gibt es bei 1176-Modellen keinen Treshold-Regler (der Treshold wird hier über das Input-Gain eingestellt). Ausserdem verfärben sie deinen Sound aufgrund der unterschiedlichen Benutzen Techniken (Röhren-Kompressor, FET-Kompressor etc.). Setting a longer attack time allows your compressor to ignore transients, and specifically target the tail end of sounds, leaving the transients unaffected. Ausserdem ist es das Tool, welches für die meisten Fragezeichen und Missverständnisse sorgt. Most people learn about compression in the way I taught it to you, and Gregory's guide is geared towards people who’ve learned it in this way; I definitely recommend giving it a read if you’d like to dive further into compression. Dies kann sinnvoll sein, wenn du das Signal im Mix nach hinten schieben möchtest und die Aufmerksamkeit von ihm wegziehen willst. If you’d like to learn more about parallel processing and parallel compression you can read my guide on How to Use Parallel Processing to Simplify Mixing. I want to start this section off by making it very clear that compression isn’t always required on every element in your mix; this goes for banging EDM mixes as well. Wegen der gewünschten Färbung schickst Du das Signal durch den Kompressor. It’s good to note that you don’t need to use all of the bands on a multi-band compressor. Compression as with other FX, is very much a listening choice. The main type of compression you’re going to benefit from on your drums is buss compression. When trying to distinguish a sound from its surroundings, a phenomenon called masking may occur, significantly increasing your minimum hearing threshold. Mit dem Make-Up-Gain kann der Ausgangspegel eingestellt werden. The following controls are slightly less common, but mastering them will help tremendously when you're working in the studio. All of the hard angles in these diagrams are for demonstration purposes because it makes what's taking place blatantly obvious. Du kannst es sofort hier downloaden.

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